RECENT ACQUISITIONS€¦ · Museum of Fine Arts. Like that painting, this work has an immediacy and expressive liveliness to its forms. Luks had been criticized for deﬁciencies

RECENT ACQUISITIONS

February 13 through April 23, 2017

Hillstrom Museum of Art


ON THE COVER

Maurice Prendergast (1858–1924)Recess, 1895–1897Monotype with pencil additions onpaper, 5 3⁄4 x 8 3⁄8 inchesHillstrom Museum of Art purchase, withfunds donated by Dr. David and KathrynGilbertson, Dawn and Edward Michael,and Richard L. Hillstrom Memorial Fund

gustavus.edu/finearts/hillstrom

Events are free and open to the public.

Regular Museum hours: 9 a.m.–4 p.m. weekdays,

1–5 p.m. weekends.

For more information, visit

gustavus.edu/finearts/hillstrom.

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write to [email protected].

RECENT ACQUISITIONS

February 13 through April 23, 2017

DIRECTOR’S NOTES

Recent Acquisitions features ten recently-acquired artworks including oil paintings, prints, and sculpture in glass. All were

donated directly to the Hillstrom Museum of Art or acquired by the Museum with funds resulting from donations. All are by

American artists and they include works by two members of The Eight, the group of artists who changed the course of

American art when they exhibited together in 1908 at New York’s Macbeth Gallery. This group forms the core of the Hillstrom

Collection and artworks by these artists and others included in this exhibit fulfill the main collecting priority of the Museum,

which is works that extend the collecting area and philosophy of Museum namesake Richard L. Hillstrom. Other donations

relate to other Museum collecting goals, including works that reflect the Swedish heritage of Gustavus Adolphus College and

that provide a representation of the College’s studio art faculty. Donors of these recent acquisitions include several alumni of

the College. Among the donors are Kraushaar Galleries of New York, Gene and Ann (Komatz ’51) Basset, David and Kathryn

(Rydland ’71) Gilbertson, Dawn (Ekstrom ’67) and Edward Michael, Reverend Richard L. Hillstrom ’38, the Cavara Family (in

honor of former College faculty member Artur Priednieks-Cavara and his son Arthur Cavara ’64), and, by bequest, Ruth A.

Reister, former chair of the College’s Board of Trustees, and her husband Raymond A. Reister.

The Museum is grateful to all its donors, and wishes to encourage those who would like to donate funds towards acquisitions

(either for direct purchase or to increase the Museum’s Endowment, which provides interest income for acquisitions), or who

would like to donate artworks that would be appropriate additions to the Museum’s Collection, to contact either the Museum

or the College’s Office of Advancement.

Donald Myers

Director, Hillstrom Museum of Art

3SPRING 2017

Maurice Prendergast (1858–1924)Recess, 1895–1897Monotype with pencil additions on paper

5 3⁄4 x 8 3⁄8 inches

Hillstrom Museum of Art purchase, with funds donated by Dr. David and Kathryn Gilbertson, Dawn and Edward Michael,

and Richard L. Hillstrom Memorial Fund

Maurice Prendergast was one of the group of American artists known as The Eight who revitalized and revolutionized

American art starting with their famed 1908 exhibition at Macbeth Gallery in New York. The Ashcan School was an

offshoot of The Eight and consisted of artists who embraced the gritty, urban realism of New York City. Of all The Eight,

Prendergast was the least alike and his work typically, as in this monotype, is more refined in style and subject matter than

that of his cohorts. Prendergast studied in Paris in the mid 1890s and this work, dating from around the end of that period,

reflects his training there and the artists he met who were influenced by the tonal, romantic approach of James McNeill

Whistler (1834–1903) and others. Prendergast was also influenced by American Impressionist Childe Hassam (1859–1935),

a work by whom is on view in this exhibit.

Recess depicts a street scene, probably Paris, of the sort that is frequent in Prendergast’s work. It is subtler than the

artist’s typical colorful watercolors and oil paintings, but it is characteristic of his extensive work in monotype. This

medium is considered a form of printmaking, though it is more like indirect painting. The monotype artist paints an image

on a sheet of glass or some similarly rigid surface and then presses paper against it, setting the image on the paper.

Sometimes the image is then altered, as in the pencil additions to Recess, and sometimes an additional print is made,

though the colors might need to be enhanced. Recess seems to be the only impression of this image, so is unique. As is

frequent in Prendergast’s monotypes, it shows the influence of Japanese prints.

Recess was shown at a major 1937 exhibit of the artist’s monotypes at the Corcoran Gallery of Art in Washington, DC,

and it is published in the 1990 catalogue raisonné of his works and registered in the Prendergast Archive maintained by

the Williams College Museum of Art. It was formerly owned by prominent East Coast collectors Mimi and Sanford Feld and

had earlier been owned by the artist’s brother Charles Prendergast (1863–1948), an artist who was known especially for

the finely–crafted frames he made, which include that of Recess.

This monotype is the second work in the Hillstrom Collection by the artist and joins an 1891 watercolor, Cottage at

Dinard, which was a favorite of Museum namesake Richard L. Hillstrom. The acquisition of Recess marked the successful

completion of a campaign by the Museum to acquire a second work by each of The Eight, an effort that sprang from

Hillstrom’s similar decision, early in his collecting, to acquire at least one work by each of those artists.

RECENT ACQUISITIONS

4 HILLSTROM MUSEUM OF ART

RECENT ACQUISITIONS

George Luks (1866–1933)Figure Studies (Two Nudes), 1901Oil on canvas

16 ½ x 12 ¼ inches

Hillstrom Museum of Art purchase, with endowment acquisition funds

George Luks was born in Williamsport, Pennsylvania and lived as a child in the nearby coal mining town of Shenandoah

until moving to Philadelphia in 1883. His mother was an amateur painter who encouraged his youthful interest in art and in

music. Luks and his brother William briefly toured as a vaudeville minstrel act, then starting in 1884 Luks spent a short

time in studies at the Pennsylvania Academy of Fine Arts, dropping out over dissatisfaction with its academic approach.

He then spent a number of years abroad, studying art in museums and, intermittently, at academies available to him. He

returned to the U.S. in 1890 and soon began working as a newspaper illustrator, landing jobs in 1894 with the Philadelphia

Press and the Philadelphia Evening Bulletin. He became acquainted with fellow illustrator–artists William Glackens (1870–

1938), Everett Shinn (1876–1953), and John Sloan (1871–1951), and it was through this circle that he met painter Robert

Henri (1865–1929). The five artists relocated to New York and they, along with Arthur Bowen Davies (1863–1928), Ernest

Lawson (1863–1939), and Maurice Prendergast (1858–1924) formed The Eight, the artists whose exhibition in 1908 at New

York’s Macbeth Gallery was the start of a modernist movement that became known as the Ashcan School.

Luks began seriously painting in 1898 at the urging of Henri, and not long after he began selling enough paintings to

make his living. An artistic inspiration for him was the great Dutch painter Frans Hals (1580–1666), who was also admired

by Henri. Luks’ dark, expressive style, often painted in a very loose manner and frequently with thick application of paint,

is indebted to both Henri and Hals. About the latter, with whom Luks had become familiar during his time abroad, he

bragged, “There are only two great artists in the world—Frans Hals and little old George Luks!”

Figure Studies (Two Nudes) is a dual study of two female nudes that functions, nearly, as a single image. In style it is

similar to what is probably Luks’ most important image of the human form, his 1905 painting The Wrestlers, in the Boston

Museum of Fine Arts. Like that painting, this work has an immediacy and expressive liveliness to its forms. Luks had been

criticized for deficiencies in handling of the human body and the Boston painting, as well perhaps as these Figure Studies,

can be seen as an answer to those charges. Luks’ painting joins another work by the artist in the Hillstrom Collection, a

charcoal and black wash drawing of a Miner’s Wife from about 1925.

FEBRUARY 13 – APRIL 23, 2017

5SPRING 2017


RECENT ACQUISITIONS


RECENT ACQUISITIONS


7SPRING 2017


William Zorach (1887–1966)Father and Son, 1917Linoleum cut on red paper

6 ½ x 16 inches

Gift of Kraushaar Galleries, New York

William Zorach was born Zorach Gorfinkel and was a member of a Lithuanian Jewish family that emigrated to the U.S. in

1894. The family settled in Cleveland and became known as the Finkelsteins, and a teacher changed young Zorach’s given

name to William. He later adopted Zorach as his surname. In his later career, he became best known for his stylized

figurative sculptures depicting animals and people, but earlier he worked largely in painting and printmaking, heavily

influenced by Cubism and Fauvism. As an older teenager he studied at the Cleveland School of Art under Henry G. Keller

(1869–1949), an artist who was well known for his work in watercolor and who is also represented in the Hillstrom

Collection. Zorach in his maturity lived in New York and later in Maine. He married his wife, artist Marguerite Zorach (1887–

1968), in New York in 1912, and he taught at the Art Students League for some thirty years, starting in 1929. The Hillstrom

Collection includes works by Marguerite and a watercolor by William from 1926 titled Maine Landscape in Winter.

This linoleum cut print was a gift from Kraushaar Galleries in New York, one of the oldest continuously operating

dealers in the city and a favorite of Museum namesake Richard L. Hillstrom. As its inscription “A MERRY XMAS FROM THE

ZORACHS” indicates, the work was a Christmas card, and Zorach was one of many artists who made their own prints to

serve as holiday greetings.

The expressionistic Nativity-like image relates to the 1915 birth of the Zorachs’ son Tessim and the central motif of a

father and his son derives from a 1916 linoleum print, the block for which was donated by Tessim to the Smithsonian

American Art Museum in 1991. William and Marguerite worked in similar styles in the period this print was made and its

composition was based on a painting by Marguerite. The image was later reused by William when he adapted it for a

marble sculpture titled The Faith of This Nation is Eternal (1939–1942), in the Santa Barbara Museum of Art.

RECENT ACQUISITIONS


RECENT ACQUISITIONS


9SPRING 2017


Leon Lundmark (1875–1942)Lighthouse, Cape Elizabeth, Maine, c. 1920Oil on canvas board

8 x 10 inches

Gift of the Reverend Richard L. Hillstrom

Leon Lundmark was born in Mörlund, in Kalmar County, Sweden, and studied at the Stockholm Fine Art Academy. In 1906

he emigrated to Chicago, where he pursued painting in his spare time while working as a designer for the Pullman

Company. He exhibited at the Chicago Art Institute from 1921 to 1924. His work in the 1921 exhibition brought him to the

attention of Chicago art dealer J. W. Young, who helped him sell numerous paintings and published a 1924 book on the

artist titled The Rise of Lundmark, Marine Painter. Lundmark participated in the 1923 Swedish-American Exhibition in the

Maritime Museum in Gothenburg, Sweden, and in the Swedish Art Exhibition in Chicago that same year, where he earned a

prize. For several years in the 1920s, he served as the director of Chicago’s Scandinavian-American Art Association, which

promoted and regularly exhibited the work of American artists born in Scandinavia.

In 1937 Lundmark moved to Altadena, California, where he exhibited with the California Art Club that year and the

following and where he finished his career. His chief subject matter was the sea, and his maritime images depicted his

native Sweden, the coast of California as well as those of the Great Lakes Michigan and Superior, and the coast in Maine.

Lighthouse, Cape Elizabeth, Maine depicts the landmark Portland Head Light. The lighthouse was constructed between

1787 and 1791 at the order of George Washington, who established a fund to pay for it. In 1789, after the initial amount had

already been spent, the newly-formed federal government authorized Alexander Hamilton in his role as Secretary of the

Treasury to make available the additional funds necessary for its completion.

Lighthouse, Cape Elizabeth, Maine is a small but powerful painting that was acquired by Museum namesake Richard L.

Hillstrom in 1943 from the J. W. Young Gallery in Chicago (the gallery founded by Lundmark’s friend and dealer), very

early in Hillstrom’s collecting when he concentrated on acquiring works by artists who shared his Swedish heritage. It joins

another much larger painting by Lundmark titled Beginning of a New Day, also donated by Hillstrom.

RECENT ACQUISITIONS


RECENT ACQUISITIONS


11SPRING 2017


Childe Hassam (1859–1935)Chase House, Annapolis, 1929Etching on paper

7 x 8 7/16 inches

Gift of Dr. David and Kathryn Gilbertson

Childe Hassam, born in Dorchester, Massachusetts, is best known as an American Impressionist painter, one of the

founders in 1898 of The Ten American Painters, artists who split with the establishment and who embraced Impressionism.

Hassam was largely self-taught in painting though in his late teens he took painting classes privately at the Boston Art

Club and later studied for a short time in Paris at the Académie Julian under French painters Gustave Boulanger (1824–

1888) and Jules Lefebvre (1834–1912). By the early 1900s Hassam was regarded, in the words of critic Albert Gallatin, as

“the greatest exponent of Impressionism in America.”

Hassam’s activities as a printmaker include working early in his career as a commercial wood engraver. Although he

had experimented with the etching medium in 1898, his activity as an etcher began around 1915 and eventually he made

nearly 400 such works. His renewed interest in this form of printmaking was partly due to friendship with a younger artist,

Kerr Eby (1889–1946; also represented in the Hillstrom Collection), who assisted Hassam with his etchings, including by

letting Hassam’s works be printed on his press and in providing space on his own bed where his friend’s prints could dry

without their ink being disturbed.

Hassam’s etchings tended to be landscapes or townscapes rather than studies of human figures. And while he at times

depicted specific locations from his travels around the U.S. and abroad, such as his 1926 image of Independence Hall in

Philadelphia, the artistic effect rather than the topographical is of primary interest. Chase House, Annapolis dates from a

visit he made to the Maryland capital in 1929 and, like with many of Hassam’s prints, it is etched with the specific date, in

this case April 17, 1929. Although Chase House, constructed between 1769 and 1774, is of historical interest as a colonial

mansion named after the person who commissioned it, Samuel Chase (who later was a signer of the Declaration of

Independence), Hassam’s interest is in the aesthetic effect of sunlight and shadow as a woman climbs the steps past a

looming tree toward the grand arched doorway. In his etchings Hassam used an artistic vocabulary of short, strong strokes

of the etching needle, a method similar to his staccato brush work in painting (to paraphrase art historians Eric Denker

and Herbert L. Cooper).

Hassam also etched the back of Chase House: Spring in Annapolis, from the same time, shows the private entrance of

the house through its gardens. Chase House, Annapolis joins another Hassam etching in the Hillstrom Collection, an

example of his acclaimed 1915 Old Lace, an impressionistic image from Cos Cob, Connecticut, where there was an artist

colony at which he spent a number of summers.


RECENT ACQUISITIONS

13SPRING 2017

Adolf Dehn (1895–1968)She Said, That They Said, That You Said, That I Said, 1945Lithograph on paper

12 7/8 x 16 ¾ inches

Gift of Gene and Ann Basset

Adolf Dehn was born in Waterville, LeSueur County, Minnesota and after studying art at the Minneapolis School of Art

(now the Minneapolis College of Art and Design) he won a scholarship to study at the Art Students League in New York

City. He made his career there, working particularly in lithography though later also becoming very active in watercolor.

Dehn often took a rather satirical approach to his subjects, and in this print even the title speaks to the humorous,

sarcastic quality of his vision. The image is a veritable gossip chain, and the elderly ladies are taking in the juicy tidbit

offered by the woman at the left. The artist uses the elements of his image in humorous and mocking ways, as in how the

deer head on the wall also seems to listen to the chatter, and how its shadow also seems alive, with intense eyes formed

from strategically-placed decorative elements of the elaborate wallpaper, and looking like it might be trying to escape the

sharp conversation. One of the framed pictures in the background features horses that appear to rear up in startled

reaction to the gossiping. The artist seems to mock the women by visually equating their hairstyles and their figures with

the rather overblown, baroque elements of the chairs upon which they sit and the picture frames behind them.

The image is amusing, but perhaps also was conceived with more bitterness than is usual with Dehn. It has been

suggested that this print relates to the ostracizing that occurred against Dehn’s family in Waterville over his refusal to

serve in the military after being drafted during World War I and his subsequent time after registering as a conscientious

objector when he lived basically as a prisoner at a military boot camp in South Carolina. Dehn’s mother Emilie was herself

a pacifist who publicly supporter her son and was criticized for it by the editor of the Waterville Sentinel newspaper;

perhaps someone related to him served as a model for one of the women lampooned in Dehn’s image.

The artist co-authored a book titled How to Draw and Print Lithographs (1950), which includes a portfolio of his prints

with technical notes about each. She Said, That They Said, That You Said, That I Said was illustrated in that volume, with

notes indicating that the litho’s edition was small, with just thirty impressions, and that it was printed at the Colorado

Springs Fine Arts Center by Dehn’s collaborator on the book, Lawrence Barrett.



RECENT ACQUISITIONS

15SPRING 2017

Adolf Dehn (1895–1968)Love, Labour, Leisure, 1937Lithograph on paper

9 ¼ x 13 1/8 inches

Gift of Gene and Ann Basset

Although Dehn for a while refused to have anything to do with his native Waterville, Minnesota after the treatment his

family received because of his pacifism in World War I, he soon reconciled with the town and regularly spent time there,

making many prints and watercolors related to Waterville and the area around it. Love, Labour, Leisure must certainly be

one such image, with its windmill emblematic of the Midwest, along with the distant water tower and grain elevator. The

farmstead depicted is bordered by a river—perhaps the Cannon River that flows near Waterville—on which can be seen

two people fishing from a boat. This likely is the “leisure” referenced in the print’s title. In the same part of the image is an

artist holding a palette and painting a canvas set on his easel. The figure can be easily identified with Dehn himself from

the many photos that exist, and this probably is the “labour” part of the image. A nearby sow watches Dehn work and is

one of many animals dotting the farm, including a cow and bull eyeing each other across the barbed wire fence, in the

lower left of the image, surely representing the “love” from the title.

Dehn was devoted to lithography, even after he started doing watercolors, and he operated a business called the Adolf

Dehn Print Club in the 1930s to market his prints. Examples of this print were offered through the Print Club the year it

was made, and the edition had 100 examples, as is indicated by the artist’s annotation in the lower left next to the title.

They were printed by George Miller, one of the key lithographic printers in New York for many years (when most

lithographers did not print their own works), someone with whom Dehn worked on numerous occasions. Love, Labour,

Leisure is a sensitive print, with subtle and minute elements that demonstrate Dehn’s mastery in lithography, a medium

that could often result in heavy-handed imagery in a less adept artist. The Minneapolis Institute of Art also owns an

example of this print, as does the Fogg Museum at Harvard University.

The two lithos by Dehn donated by the Bassets join several other works by the artist in the Collection, including two

watercolors given by Richard L. Hillstrom and a group of lithographs that were illustrations for a volume of short stories by

French author Guy de Maupassant, a bequest from Audrey Knudson.



RECENT ACQUISITIONS

17SPRING 2017

Voldemars Gutmanis (1904–1988)Riga, Latvia, 1968Oil on canvas

46 ¾ x 36 ½ inches

Gift of the Cavara family in honor and memory of Gustavus Adolphus College faculty member Artur Priednieks-Cavara,

graduate Arthur Cavara, and all Latvian refugees displaced or killed during the Soviet occupation

Voldemars Gutmanis was born in Liepāja, Latvia, and studied art at the Latvian State Academy of Art in the capital of

Riga, graduating as a Fine Artist Painter. He was imprisoned in a German work camp during World War II and after the war

was one of up to 300,000 Latvian refugees who fled the post-war Soviet occupiers. Gutmanis lived in a refugee camp in

Esslingen am Neckar, in southern Germany near Stuttgart. He and his family were among a group of Latvian refugees who

came to Gustavus Adolphus College in a joint humanitarian effort between the College and Scandia Grove Lutheran

Church in nearby Norseland. This group also included Karlis Kaufmanis, who had taught at the University of Latvia before

becoming a professor of math and astronomy here, and Artur Priednieks-Cavara, an accomplished opera singer who

taught music at the College and in whose name, and that of his son Arthur Cavara, an alumnus of the class of 1964, the

painting was donated.

Artist Gutmanis and his family arrived at Gustavus in early May of 1949 and initially they were housed in the isolation

ward of the College’s health service until better living quarters could be found. The artist served as a painter—of

buildings—for the College’s grounds crew but soon was engaged to teach art classes, which he did from 1949 to 1951.

Riga, Latvia is a loving depiction of the capital in the old country, with the tower of the Dom or Cathedral shown at the

left center of the canvas and the characteristic spire of the St. Peter’s Church at the right center. Both structures were not

far from the Academy where Gutmanis studied, and the image is one from the Daugava River, which flows northwest

through Riga into the Gulf of Riga, a bay of the Baltic Sea. A 1948 catalogue of the artist’s works, published while he was

still in the refugee camp in Esslingen, depicts nearly 40 of his works and includes other images related to Riga. One of

these is an isolated image of the St. Peter’s Church, and it is accompanied by text by Gutmanis commenting that the

church’s famous wooden tower had been destroyed in the war in 1941. Reconstruction of the church, however, was begun

in 1967, the year before this painting was made.

The skyline of Riga must have held special, nostalgic meaning for the refugee artist, and this painting joins another in

the Collection, a smaller depiction of the city (with the same two towers) that was donated to the College in memory of

the wife of Karlis Kaufmanis, Wilhelmine. The Collection also includes a 1961 winter scene titled Žiema, the Latvian word

for “snow,” likely a memory by Gutmanis of winter in his home country.


RECENT ACQUISITIONS



19SPRING 2017

Dale Chihuly (born 1941)Dusky Orange Persian Set with Blue Lip Wraps, c. 2000Blown glass four-piece set

5 x 12 ½ x 6 ½ inches (largest of four pieces)

Gift from Raymond A. Reister & Ruth A. Reister

Illustrated on back cover:

Dale Chihuly (born 1941)Dusky Amethyst Seaform Set with Garnet Lip Wraps, 1998Blown glass four-piece set

5 ½ x 11 ¾ x 5 ¾ inches (largest of four pieces)

Gift from Raymond A. Reister & Ruth A. Reister

Dale Chihuly, born in Tacoma, Washington, is perhaps the most well-known glass artist today and his status is on par with

the fame of art nouveau glass master Louis Comfort Tiffany (1848–1933), the stained-glass window makers of the Gothic

age, and the art glass industry of the Venetian island Murano. Chihuly graduated from the University of Washington,

Seattle in 1965 with a BA in interior design. That same year he began experimenting with glassblowing, then the next year

studied in the glass program established at the University of Wisconsin—Madison, earning an MS degree in sculpture in

1967. This was followed by an MFA in sculpture from the Rhode Island School of Design in 1968. He co-founded in 1971 the

Pilchuck Glass School in Stanwood, Washington.

The artist originally did his own glass blowing, the method by which his works are made, creating each of the separate

glass pieces that are often grouped together into a single work. But in 1976 he was blinded in his left eye as a result of an

auto accident (which led to him wearing his signature black eye patch) and in 1979 he dislocated his right shoulder. With

lessened vision and no longer able to hold a glass blowing pipe, he took on the role of artistic director to a growing staff

of glass blowers who help him create his works.

Chihuly’s glass pieces can be found in many art museums around the world, with monumental works frequently

adorning their large lobbies, such as the 1999 Sunburst at the Minneapolis Institute of Art, which is ten feet in height,

weighs over 3,000 pounds, and is made up of over 1,000 separate pieces.

Chihuly has a number of different kinds of “sets,” groupings that are visually alike and that he continues to develop. The

Museum’s two pieces by the artist include a “Persian Set” and a “Seaform Set.” The Seaforms were first created in 1980

and metamorphosed from an earlier series called “Baskets.” Typically created from subtle colors of glass, they are thin-

walled. As art critic Joan Seeman Robinson has written, “The Seaforms call forth associations with water, marine life and

movement without depicting them and that’s why they so persuasively affect us as art.”

The Persians are characterized by brightly colored and unusually shaped objects that often resemble bottles or other

vessels and that the artist thought had an archaeological quality in their appearance. These works often have herringbone

patterns and exist in groupings to be mounted on walls or ceilings as well as in “table-top” compositions. The Persians

were introduced in a 1986 solo exhibition of Chihuly’s works at the Louvre’s Musée des Arts Decoratifs and were described

in the exhibit catalogue as “new possibilities from the blowpipe.”

The two sets by Chihuly are from the collection of the late Raymond A. Reister and Ruth A. Reister. The Reisters were

strong supporters of the arts in Minnesota, and Ruth was closely associated with the College, serving on its board of

trustees from 1994 to 2003 and as its chairperson from 2000 to 2002; she passed away in 2015.

George Bellows (1882–1925)

Sunset, Shady Valley, 1922

Oil on wood panel, 16 3⁄8 x 24 inches

Gift of the Reverend Richard L. Hillstrom

800 West College Avenue | St. Peter, MN, 56082 | 1-800-GUSTAVUS | gustavus.edu/finearts/hillstrom


Dale Chihuly (born 1941)Dusky Amethyst Seaform Set with Garnet Lip Wraps, 1998Blown glass four-piece set, 5 1⁄2 x 11 3⁄4 x 8 3⁄4 inches (largest of four parts)Gift from Raymond A. Reister & Ruth A. Reister

Documents

RECENT ACQUISITIONS€¦ · Museum of Fine Arts. Like that painting, this work has an immediacy and expressive liveliness to its forms. Luks had been criticized for deﬁciencies